FESTIVALS & FUTURISM: Disappearing Berlin + Reference Festival @ BIERPINSEL Recap

We spent a lot of time in Berlin-Steglitz this month.

For fashion week we joined REFERENCE FESTIVAL at the iconic brutalist BIERPINSEL, to exhibit five new looks from the Autumn/Winter 2021/2022 collection, MARIA. We brought the themes of MARIA to life with an installation staging an imagined game of chess between Italian Marxist Antonio Gramsci and French Dadaist Marcel Duchamp. The festivities continued that evening with a set by Berghain resident DJ KOBOSIL, who took us from Gramsci’s grave – to the rave. 

We rejoined Reference at the scene of the crime the following week as media sponsors for DISAPPEARING BERLIN’s series of talks, screenings, and live performances organized by curator Marie-Therese Bruglacher – who we interview HERE – and PAN Records’ Bill Kouligas. Highlights included a radio show hosted by Home Cooking’s ASAD RAZA, a video installation by Cyprien Gaillard, and two nights of music and visuals by AMNESIA SCANNER.

That week, the local press broke the news that the beloved Bierpinsel sold to a commercial developer, making the opportunity to gather as a community in celebration of art, fashion, and culture feel all the more meaningful.


Related Content


    In a city undergoing rapid change, the Schinkel Pavillion's event series DISAPPEARING BERLIN brings artists and audiences to iconic architectural spaces facing redevelopment. On September 18 and 19 2021, DISAPPEARING BERLIN returns alongside Reference Studios with a dynamic program of artist talks, performances, and interventions at Bierpinsel – a brutal gem of 1970s futurism that, after years on the market and more than a decade of vacancy, has recently been sold to a private developer. More
  • CYPRIEN GAILLARD: L’Origami du Monde

     CYPRIEN GAILLARD has a thing for monuments—their grandeur, obviously, which is sometimes matched by the majesty of his own art projects (his 2012 film Artefact, originally shot using an iPhone and subsequently transferred to 35 millimeter film, comes to mind) but also, much more pointedly, the inevitability of their ruination—and the greater the monument, the […]More
  • Deeper